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Hamilton Clancy center stage as a cowboy in a scene from Shakespeare in the Parking Lot. Photo by Jonathan Slaff
Off Broadway
Edward A Kliszus

Shakespeare’s The Comedy of Errors

The actors’ droll and elegant linguistic patter sliced into the backdrop of the city’s hubbub of engines, horns, and sirens. The virtual world they drew us into was a topsy-turvy pastiche of clever banter, delight, and merriment.

The Gospel According to Heather. Photo by Russ Rowland
Broadway
Holli Harms

The Gospel According to Heather

The Gospel According to Heather is retelling of the story of Jesus, of those who followed him and believed in him, and those who fought to destroy him. It is the story of Scrooge and his transformation, it is the story of teenagers and how they discover their own worth and belief and love for self.

Ronald "Smokey" Stevens in his solo play, "I Just Want to Tell Somebody," presented by Theater for the New City June 1-18, 2023. Photo by Jonathan Slaff.
Off Broadway
Edward A Kliszus

I Just Want to Tell Somebody by Smokey Stevens

From a bottomless pit of prison and despair, Stevens mustered sobriety and hope powered by a renewed, unwavering determination, self-worth, confidence, and passion for his craft. His life became a transformative journey of recovery, growth, and personal empowerment. He crushed his alter ego D Man and broke free, becoming a beacon of resilience and strength. Ronald “Smokey” Stevens is a superbly gifted raconteur with an authentic, inspirational story for everyone that must be told.

The cast in a scene from Bliss Street. Photo by Jonathan Slaff.
Off Broadway
Edward A Kliszus

Bliss Street

The Theater for the New City presented Bliss Street, a blockbuster musical production based on the life and times of New York rocker Charlie Sub (played by Blaize Adler-Ivanbroo) and his unique connection to the legendary Coventry Club in Queens, New York. Narrated by Ethyl (Marlain Angelides), Bliss Street depicted Charlie Sub’s growing up in an ever-changing New York City in a family that adapted and survived with panache.

Ted Sperling conducts MasterVoices production of Gilbert and Sullivan's Iolanthe at Carnegie Hall. Photo by Toby Tenenbaum
Choral Music
Edward A Kliszus

MasterVoices presents Iolanthe

This production of Iolanthe by MasterVoices at Carnegie Hall portrayed the essence of superlative artistry coupled with modern technological tools. Audience members were masterfully delivered full access to every quip, idiom, and reference intended by Gilbert and Sullivan. During the production, laughs, chuckles, cheers, and other affirmations continued. Applause occurred frequently, and the denouement was acknowledged through an extended standing ovation and multiple bows. The soloists, dancer, orchestra, costumes, choreography, and lighting were superb. Sperling’s conducting was masterful, precise, effective, and expressive.

The Cast of The Singing Sphere by Marie Glancy O'Shea at the New Stage Performance Space. Michelle Best, Sam Flynn, Lisa Giobbi, Sonia Villani, Tatyana Kot, Gina Bonati, Daniella Aziza. Photo by Nonoka Sipos Judi
Off Broadway
Edward A Kliszus

The Singing Sphere

The Singing Sphere was entertaining, intellectually engaging, imaginative, provocative, and introspective. It seemed, after all, that one might evolve to a better state. We enjoyed a sojourn of hope and infinite beauty through this collective stream of eloquent consciousness and literary effusion.

Shanit Keter Schwartz in Daughter of the Wicked. Photo Credit: Jim Cox
Off Broadway
Edward A Kliszus

Daughter of the Wicked

Schwartz is a raconteur extraordinaire. From the onset, her repartee was confident and, at times, adapted to prompt audience interaction. One could hardly resist her gentle, enchanting coaxing. She exuded charisma as she commanded the stage with energy and charm. Schwartz’s timing was impeccably utilized for dramatic effect, while her suspense and pacing were expertly managed. Her voice conveyed various emotions and characters, using accents and expressing personalities with aplomb—bringing their stories to life. With her robust stage presence, Schwartz utilized body language, dance, and gestures to provide depth and nuance to her performance. She guided her audience through humor, sadness, fear, intrigue, and elation.

Andre Royo in Audible Theater's production of "Drinking in America," written by Eric Bogosian and directed by Mark Armstrong. Off-Broadway / Minetta Lane Theatre (18 Minetta Lane, NYC). Photo (c) Jeremy Daniel
Off Broadway
Victoria L. Dammer

Drinking in America

Royo delivered a resounding performance, transforming into over 12 characters experiencing the stages of alcoholism and its effects on each character’s interaction with himself and others. At times, it’s hard to tell who Man is, as his toxic masculinity dominates and elevates with the abuse of alcohol.

The Company of the 2021-2022 national tour of CATS. Photo by Matt Matthew, Murphymade.
Musical Theater
Victoria L. Dammer

CATS at the Mayo Performing Arts Center

There are so many beautiful songs in the first and second acts, too many to list. Still, song after song and with mindboggling dance presentations, the theatergoers waited in anticipation to hear Grizabella’s full performance of Memory, and it didn’t disappoint. It was so powerful that everyone in the theater held their breath momentarily.

In a scene of The Conductor at The Theater for the New City. Above: Brian Simmons as Warren Chipp. Below: Imran Javaid as Shashi Parmar. Photo by Jonathan Slaff.
Off Broadway
Edward A Kliszus

The Conductor at the Theater for the New City

The Conductor celebrated emotionally charged discourse governed by mutual respect, intellectual rigor, and passionate argument without the hostility, recriminations, and violence sometimes seen in today’s national debate. As with any well-crafted, intellectually fueled discourse, Reed’s work evoked exciting questions and ideas for viewers desiring continued debate.

Shakespeare’s The Comedy of Errors

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